Posts Tagged ‘Super Destructo II’

I feel like I’m just recovering from my trip to Winnipeg for C4, which is good, since I’m headed to Lethbridge, Alberta in just two weeks for the Lethbridge Entertainment Expo. I’ll be at the Renegade Arts Entertainment booth signing copies of Redcoats-ish: Jeff Martin’s War of 1812, Hockeypocalypse, and HEAT. And probably cursing the idea of driving 5 and a half hours through Alberta in late November to anyone who will listen, but it’ll be my own stupid fault.

On the wrestling front, I recommend checking out Lucha Underground. So far it doesn’t particularly strike me as “lucha” particularly, but I’ve watched the first two episodes and they were pretty good. Commentary isn’t very good, because modern wrestling, but has some really interesting visual elements and a nice, quick one hour format. I’ve come to the conclusion that, as far as my current tastes go, a one hour wrestling show is pretty much ideal. Three hours of RAW is nigh-unwatchable, but even a mediocre-to-bad episode of NXT or ROH flies by.

I forgot it was Monday because I fell into a colouring-induced fugue state where time and space were irrelevant. There were only layers and Photoshop shortcut commands. I have no idea how professional colourists can do that every day.

The drop down spot was really hard to figure out how to break into panels, thus joining the ranks of wrestling spots that happen all the time but turn out to be difficult to draw. Naturally, powerbombs and stuff are really easy to draw. That makes sense, right?

Next Week: Dusty Trails returns. He does not care for grammar advice. One bit.

You have no idea how much ridiculous pantomime was involved in figuring out how the “turn out, headbutt” counter of that arm hold would work. My initial impression of “just like the normal turn out counter, but with a headbutt” was sorely mistaken upon looking at some video clips and realizing that the turn ever only resulted in the attacker and victim changing roles, but with the same hold.

A quick thank you to everyone who stopped by the Renegade Arts Entertainment booth at Edmonton Expo, as you guys are the ones who make shows like that successful. And oh man, was that show successful. If you didn’t get a chance to pick up my new book, “Redcoats-ish: Jeff Martin’s War of 1812,” hit the link on the sidebar and grab yourself a copy directly from Renegade!

My next appearance will be in Winnipeg for Central Canada Comic Con, and there may be some wrestling-related fun involved.

Next Week: The video game camera angle returns, and I try to draw another thing that happens in every match that turns out to be difficult to translate to comics.

I missed posting this on Monday because I slept through Monday after a very, very long weekend at the Saskatoon Comic & Entertainment Expo, where I was awake 50 out of the 57 hours of the trip.

Trying to figure out how to incorporate instant replay into a static medium was tough. I ended up going with the rounded corner “TV” panels approach from The Dark Knight Returns, which I think turned out okay.

In other news, I have no idea what that double arm hold is called, but mid-90s All Japan LOVED that hold.

If you don’t believe the advice in the title, just ask Ray Rice! Topical jokes!

As I post this, it’s 7:30 in the morning. I’ve been colouring a print and writing the rules for a prototype card game for roughly 7 hours now. My life is really weird, you guys. Really, really weird. Much like attempting to figure out how to draw a baseball slide that isn’t really a baseball slide, but more of a normal dropkick where the ropes are used for leverage. They’re different kinds of weird, but they’re both things that have now happened in my life.

The title of this one is what happens when I write a title at 5:30 in the morning. I probably finished drawing this page at around 5:30 in the morning, as well, but that’s pretty standard for me. The suplex with a floatover is one of my favourite moves in WWE 13, and yet I rarely see it in actual wrestling. Unlike other “video game moves” that I didn’t know existed until I started watching Japanese wrestlers murder each other, the floatover suplex seems like a really easy way to give a standard move some flair. I’m surprised it isn’t used by somebody in WWE, really.

In other news, if you want to check out page 311, head over to Patreon and become a patron! You’ll be able to see each HEAT strip a week early, as well as get some great rewards starting at just $1 per comic!

Well he didn’t hit him with a closed fist, so the referee can’t complain. The second panel turned into a huge pain due to relative scale issues, which are probably the most frequent problem I run into.

I just discovered that being a little drunk doesn’t really effect my ability to draw, given no other changes to my work environment, but it DOES effect my ability to poor liquids from one container into another. Which my end table and carpet learned the hard way. But I DID produce two HEAT cards that are better than the two I drew last night while sober, so that’s an interesting development. My liver may not enjoy further research into those results.

That title sounds like a REALLY gross euphemism. It also makes me think of spider-beasts, which became the source of a lot of drunken laughter Sunday night after Yukomicon ended. Speaking of which, a heartfelt thanks to all of you who dropped by my artist alley table at Yukomicon and made that show one of the most fun and lucrative conventions I’ve ever done. I can’t wait to get back to Whitehorse next year.

Also, the HEAT buffer is empty, so I know what I’m doing with my art time after I sleep for a full day.

We’re back to the thicker lines after last week’s sojourn into new inking techniques. I think the problem is that I press fairly hard to get an even line, so it’s really difficult for me to make background lines thin enough to avoid thick foreground ones.

We’re also back to the classic Dick/Kong relationship, wherein Kong lifts Dick up over his head and then throws him somewhere that hurts.

This is the first page I drew after the 2014 Emerald City Comic Con, and involved trying out some new inking techniques I picked up during portfolio reviews. That’s why the lines don’t have the same thickness as usual.

It’s also really hard to draw gorilla presses without it looking like the wrestler executing the move is just straight-up lifting the other guy by his junk. Which I guess WOULD make it a much more debilitating move…

Next Week: Robots being good at math is a stereotype, and an offensive one, at that.